The Sculpted Voice an Exploration of Voice in Sound Art
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Press Release
Contact: Mark Linga 617.452.3586 [email protected] N E W S R E L E A S E The Media Test Wall Presents Video Trajectories (Redux): Selections from the MIT List Visual Arts Center New Media Collection featuring works by Bruce Nauman, Dara Birnbaum, Bill Viola, Nam June Paik and Gary Hill Viewing Hours: Daily 24 Hours Cambridge, MA – September 2008. The MIT List Visual Arts Center’s Media Test Wall presents Video Trajectories (Redux): Selections from the MIT List Visual Arts Center New Media Collection. This five-part exhibition series features selections from the List Center’s exhibition Video Trajectories (October 12-December 30, 2007) which was originally organized by MIT Professor Caroline A. Jones. The five selections in Video Trajectories (Redux), considered masterworks from video art history were acquired to become part of the MIT List Center’s New Media Collection. This exhibition re-introduces these works to a broader public: September 12-October 10 Bruce Nauman Slow Angle Walk (Beckett Walk), 1968 Video, black-and-white, sound, 60 minutes © 2008 Bruce Nauman/Artists Rights Society (ARS), New York, NY For Bruce Nauman, the video camera is an indispensable studio tool and witness. Barely edited, a characteristic Nauman tape from the late '60s shows the artist laconically following some absurd set of directions for an extended amount of time within the vague purview of a video camera mounted at a seemingly random angle in relation to the action. Slow Angle Walk is a classic of the genre, reflecting the artist's interest in Irish playwright Samuel Beckett, whose characters announce, "Let's go!" while the stage directions read, "No one moves." October 13-November 14 Dara Birnbaum Technology/Transformation: Wonder Woman, 1978-79 Video, color, sound, 5 minutes 50 seconds Courtesy of Electronic Arts Intermix Trained in architecture and painting, Birnbaum early on understood the estranging power of repetition. -
Bruce Nauman
BRUCE NAUMAN “The true artist helps the world by revealing mystic truths.” -Bruce Nauman Biography BRUCE NAUMAN Video > Make Me Think Me Nauman studied mathematics and physics at the University of Wisconsin-Madison, and art with William T. Wiley and Robert Arneson at the University of California in Davis. He worked as an assistant to Wayne Thiebaud and in 1966 he became a teacher at the San Francisco Art Institute. In 1968 he met the singer and performance artist Meredith Monk and signed with the dealer Leo Castelli. In the 1980s he moved to New Mexico. Much of his work is characterised by an interest in language which often manifests itself in a playful, mischievous manner. For example, the neon Run From Fear- Fun From Rear, or the photograph Bound To Fail which literalises the title phrase and shows the artist's arms tied behind his back. There are however, very serious concerns at the heart of the work. Nauman seems to be interested in the nature of communication and the inherent problems of language, as well as the role of the artist as supposed communicator and manipulator of visual language. In 1999 he received the Golden Lion of the Venice Biennale. In 2004 he created his work Raw Materials at Tate Modern. Nauman cites Samuel Beckett, Ludwig Wittgenstein, John Cage, Philip Glass, La Monte Young and Meredith Monk as major influences on his work. Biography Born Fort Wayne, Indiana, 1941 EDUCATION 1964 B.S. University of Wisconsin, Madison (mathmatics & physics) 1966 M.F.A. University of California, Davis 1966-68 Taught at San Francisco Art Institute, San Francisco 1970 Taught at University of California, Irvine HONORS/AWARDS 1968 NEA Grant, Artistic Fellowship Award, Washington, D. -
Bruce Nauman:Make Me Think Me Educators’ Pack
Bruce Nauman:Make Me Think Me Educators’ Pack Make Me Think Me Central to Nauman’s work is his exploration of art’s potential as a means to investigate the human condition. Make Me Think Me focuses on this aspect of Nauman’s work, and is divided into two parts. Part One examines the artist’s preoccupation with language. It includes photographs, neon works, sound pieces, sculptures and works on paper that incorporate wordplay. Nauman tests language to the point where it breaks down as a means of communication and becomes a mere pattern or sound. Raw-War, 1971 Part Two explores his engagement with the body and its use as a symbol. The subject shifts from the artist’s own body to that of clowns, actors and also to the viewer. Confronted with “What to do”, alone in his studio following graduation, Nauman came to the conclusion that if he is an artist then everything he does in his studio is art. He recorded himself performing simple, mundane tasks such as applying make-up, pulling faces, bouncing a ball and walking around a square in order to investigate human behaviour, the actions being emblematic of the wider human condition. Works such as Corridor Installation (Nick Wilder Installation) 1971 and Double Steel Cage Piece 1974 allow him to examine audience reaction and response. The viewer unwittingly becomes performer on entering these works, but movement is always predetermined and controlled by the artist. The exhibition culminates with a selection of Nauman’s animal and head casts. The interchanging of body parts in these sculptures can be read symbolically or metonymically, recalling the chopping and changing of words and phrases at the beginning of the exhibition. -
CCRMA Fall Concert 2013
Romain Michon is a PhD candidate at CCRMA. After graduating from two bachelors in Musicology and Computer Science in Ireland and in France, he completed a Department of Music Stanford University Masters degree in computer music at the university of Lyon (France). He worked as an engineer in several research center in computer music such as the Institut de Recherche et Coordination Acoustique/Musique (IRCAM), the Groupe de Recherche en Acoustique et en Musique Electronique (GRAME) and the Centre Interdisciplinaire d'Etudes et de Recherches sur l'Expression Contemporaine (CIEREC). Romain’s research interest mainly focuses on digital signal processing, mobile platform and web-technology for music. CCRMA Tim O'Brien is a second year Masters student at CCRMA. His interests include signal processing, progressive rock, and interesting noises. Prior to Stanford, Tim composed and preformed with various bands in New York. He holds a B.S. in physics from the University of Virginia. Fall Concert Rufus Olivier Jr.: a student of David Briedenthal of the Los Angeles Philharmonic. Member, Stanford Woodwind Quintet. Principal bassoonist of the San Francisco Opera Orchestra and S.F. Ballet Orchestra formerly with Los Angeles Philharmonic and San Francisco Symphony. International soloist and recording artist. Teaches at Mills College and Stanford University. Leland C. Smith was born in Oakland, California in 1925. He began composing in 1938 and first studied with Darius Milhaud at age 15. He did some dance band work and then served in a Navy band (and combo) for two and a half years. He studied with Roger Sessions in Berkeley, where he served as his assistant, and received his B.A. -
(At) Miracosta
The Creative Music Recording Magazine Jeff Tweedy Wilco, The Loft, Producing, creating w/ Tom Schick Engineer at The Loft, Sear Sound Spencer Tweedy Playing drums with Mavis Staples & Tweedy Low at The Loft Alan Sparhawk on Jeff’s Production Holly Herndon AI + Choir + Process Ryan Bingham Crazy Heart, Acting, Singing Avedis Kifedjian of Avedis Audio in Behind the Gear Dave Cook King Crimson, Amy Helm, Ravi Shankar Mitch Dane Sputnik Sound, Jars of Clay, Nashville Gear Reviews $5.99 No. 132 Aug/Sept 2019 christy (at) miracosta (dot) edu christy (at) miracosta (dot) edu christy (at) miracosta (dot) edu christy (at) miracosta (dot) edu christy (at) miracosta (dot) edu christy (at) miracosta (dot) edu Hello and welcome to Tape Op 10 Letters 14 Holly Herndon 20 Jeff Tweedy 32 Tom Schick # 40 Spencer Tweedy 44 Gear Reviews ! 66 Larry’s End Rant 132 70 Behind the Gear with Avedis Kifedjian 74 Mitch Dane 77 Dave Cook Extra special thanks to Zoran Orlic for providing more 80 Ryan Bingham amazing photos from The Loft than we could possibly run. Here’s one more of Jeff Tweedy and Nels Cline talking shop. 83 page Bonus Gear Reviews Interview with Jeff starts on page 20. <www.zoranorlic.com> “How do we stay interested in the art of recording?” It’s a question I was considering recently, and I feel fortunate that I remain excited about mixing songs, producing records, running a studio, interviewing recordists, and editing this magazine after twenty-plus years. But how do I keep a positive outlook on something that has consumed a fair chunk of my life, and continues to take up so much of my time? I believe my brain loves the intersection of art, craft, and technology. -
An Interview with Laurie Anderson by Jody Dalton
October. 1989 -- - - • -' • -=== ® BROOKLYN ACADEMY OF MUSIC NEXT WAVE FESTIVAL SPONSORED BY PHILIP MORRIS COMPANIES INC ~-- - §;~~~~~;~~§~--~ · ~~-· -·~ Brooklyn Academy of Music NEXT WAVE Festival Sponsored by Philip Morris Companies. Inc. October. 1989 Volume 7. No. I CONTENTS Singing a New Song: An Interview with Laurie Anderson by Jody Dalton .................................................. 3 Rete/lings: The Nursery and Household Tales of the Brothers Crimm by Peter M. Rojcewicz ..... ....................................... 8 Can we plan a BAMscape? by Bonnie Sue Stein ..... ... .... ....... ...... ........ ..... ....... 13 Nusrat Fateh Ali Khan & Party: The Oawwali Music of the Sufis by Amy Mereson ... .. .. .. ..... ...... .... ....... ... ...... ... 19 Shakespeare Plays a Solo by )ames Leverett .... .. .. ... ............... ..... ... .. ....... 2 2 Andy Warhol and the Velvet Underground by Andy Warhol and Pat Hackett ............... ................. .. 2 5 Finding New Markers: The Choreography of Bebe Miller by Robert Sandia ........................................... .. .. 28 Cover: Bebe Miller In a photograph The NEXT WAVE Festival is produced by the that will form part of Robert Flynt's Brooklyn Academy of Music. 30 Lafayette setting for her new work, Allies, photo by Robert Flynt Avenue. Brooklyn. New York 11217 ON THE NEXT WAVE is published by the Humanities Program of the BAM NEXT WAVE Festival. Editor: Roger W. Oliver Associate Editor: Rory MacPherson Design: Jon Crow/Advance Graphic NEXT WAVE logo design: Valerie Pettis + DOUBLESPACE © 1989 by the Brooklyn Academy of Music • Laurie Anderson, photo by Beatrlz Schiller Singing a New Song: L aurie Anderson is a born sto· mixed printed words. photographic ryteller who keeps reinventing the images and recorded music to set campfire. She has replaced the off chains of associations in the lis backdrop of trees and stars with tener/viewer's mind. -
KATHARINE CONLEY August 2020
KATHARINE CONLEY August 2020 Modern Languages & Literatures 21 Sussex Court William and Mary Williamsburg, VA 23188 PO Box 8795 (757) 645-3876 Williamsburg, VA 23187-8795 (603) 443-2462 (cell) [email protected] ACADEMIC AND ADMINISTRATIVE POSITIONS Professor of French and Francophone Studies, William and Mary, 7/12- Dean of the Faculty of Arts and Sciences, William and Mary 7/12-6/20 Edward Tuck Professor of French and Comparative Literature, Dartmouth, 7/10-6/12 Professor of French, Dartmouth College, 7/04-6/12, Emerita 7/12- Associate Professor of French, Dartmouth College, 7/98 - 6/04 Assistant Professor of French, Dartmouth College, 7/92 - 6/98 EDUCATION Virginia Women’s Senior Leadership Seminar 2015-16 Harvard Institute for Management and Leadership in Education, June 2014 PhD French, University of Pennsylvania, May 1992 Honorary MA, Dartmouth College, 2007 MA French, University of Pennsylvania, 1990; MA French, University of Colorado, 1988 BA cum laude, Harvard-Radcliffe University, 1979 (major: honors English) AWARDS, FELLOWSHIPS, AND INSTITUTES (since 1992) Phi Beta Kappa, Dartmouth College, June 2009 Jacobus Family Fellowship, Dartmouth College, 2004-2005 Senior Faculty Fellowship, Dartmouth College, Winter-Spring 2005 J. Kenneth Huntington Memorial Award, Dartmouth College, June 2004 Whiting Foundation Travel Grant: Summer 1996 Humanities Institute on Cultural Memory and the Present, Spring 1996 Junior Faculty Fellowship, Dartmouth College, Winter-Spring 1996 School of Criticism and Theory, June-July 1995 Burke Research Initiation Grant, Dartmouth College: 1992-1995 PUBLICATIONS AND PAPERS Books and Edited Volumes: Author: Surrealist Ghostliness. Lincoln: University of Nebraska Press, 2013. Katharine Conley / 2 Author: Robert Desnos, Surrealism, and the Marvelous in Everyday Life. -
Art 381 Repeat Perform Record
Sculpture 381 Fall 2013 T/Th 1-4 Repeat, Perform, Record Billy Culiver E.A.T. 9 Evening in Art and Technology A Class Exploring the Intersection Between Theater, Dance and Visual Art The studio art course, Repeat, Perform, Record we will consider the dynamic of live bodies in physical spaces and read critical text and philosophical ideas about performance art. You will have 3 assignment: 1. Work Ethic-Duration/Record, 2. Work Ethic Labor and a collaborative work done with dancers, 3. Spaces Created by Action/Action Created by Spaces. Each assignment is directly aligned to a set of readings and visiting artists who will join the class. In this class, I attempt to honor the radical roots of Performance Art, with its history of expanding notions of how we make art, how we witness art, and what we understand the function of art to be. Performance art in the studio art context emerged from the visual and plastic arts rather than the traditional categories of dance and theater. From the beginning “Performance” was part of the modernist movements such as Futurism, Dada. With the emergence of Fluxus, Situationalism, Happenings, and Conceptualist practices the correspondence with the conscious use of space, time and process became central to Performance Art. With in the last decade, the concept of space, time and process have blended to expand Performance Art, making it a contemporary tool for expression with diverse directions of visual art, theater, dance, music and social practices. Contemporary live art now employs many different forms of experimentation diminishing the known or rehearsed dynamics of performance by opening it to improvisation and chance operations. -
Iannis Xenakis, Roberta Brown, John Rahn Source: Perspectives of New Music, Vol
Xenakis on Xenakis Author(s): Iannis Xenakis, Roberta Brown, John Rahn Source: Perspectives of New Music, Vol. 25, No. 1/2, 25th Anniversary Issue (Winter - Summer, 1987), pp. 16-63 Published by: Perspectives of New Music Stable URL: http://www.jstor.org/stable/833091 Accessed: 29/04/2009 05:06 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=pnm. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We work with the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. Perspectives of New Music is collaborating with JSTOR to digitize, preserve and extend access to Perspectives of New Music. http://www.jstor.org XENAKIS ON XENAKIS 47W/ IANNIS XENAKIS INTRODUCTION ITSTBECAUSE he wasborn in Greece?That he wentthrough the doorsof the Poly- technicUniversity before those of the Conservatory?That he thoughtas an architect beforehe heardas a musician?Iannis Xenakis occupies an extraodinaryplace in the musicof our time. -
Manifestopdf Cover2
A Manifesto for the Book Sarah Bodman and Tom Sowden A Manifesto for the Book Sarah Bodman and Tom Sowden with an edited selection of interviews, essays and case studies from the project What will be the canon for the artist’s book in the 21st Century? 1 A Manifesto for the Book Published by Impact Press at The Centre for Fine Print Research University of the West of England, Bristol February 2010 Free download from: http://www.bookarts.uwe.ac.uk/canon.htm This publication is a result of a project funded by the Arts and Humanities Research Council from March 2008 - February 2010: What will be the canon for the artist’s book in the 21st Century? The AHRC funds postgraduate training and research in the arts and humanities, from archaeology and English literature to design and dance. The quality and range of research supported not only provides social and cultural benefits but also contributes to the economic success of the UK. For further information on the AHRC, please see the website www.ahrc.ac.uk ISBN 978-1-906501-04-4 © 2010 Publication, Impact Press © 2010 Images, individual artists © 2010 Texts, individual authors Editors Sarah Bodman and Tom Sowden The views expressed within A Manifesto for the Book are not necessarily those of the editors or publisher. Impact Press, Centre for Fine Print Research UWE, Bristol School of Creative Arts Kennel Lodge Road, Bristol BS3 2JT United Kingdom Tel: +44 (0) 117 32 84915 Fax: +44 (0) 117 32 85865 www.bookarts.uwe.ac.uk [email protected] [email protected] 2 Contents Interview with Eriko Hirashima founder of LA LIBRERIA artists’ bookshop in Singapore 109 A Manifesto for the Book Sarah Bodman and Tom Sowden 5 Interview with John Risseeuw, proprietor of his own Cabbagehead Press and Director of ASU’s Pyracantha Interview with Radoslaw Nowakowski on publishing his own Press, Arizona State University, USA 113 books and artists’ books “non-describing the world” since the 70s in Dabrowa Dolna, Poland. -
Experimental Sound & Radio
,!7IA2G2-hdbdaa!:t;K;k;K;k Art weiss, making and criticism have focused experimental mainly on the visual media. This book, which orig- inally appeared as a special issue of TDR/The Drama Review, explores the myriad aesthetic, cultural, and experi- editor mental possibilities of radiophony and sound art. Taking the approach that there is no single entity that constitutes “radio,” but rather a multitude of radios, the essays explore various aspects of its apparatus, practice, forms, and utopias. The approaches include historical, 0-262-73130-4 Jean Wilcox jacket design by political, popular cultural, archeological, semiotic, and feminist. Topics include the formal properties of radiophony, the disembodiment of the radiophonic voice, aesthetic implications of psychopathology, gender differences in broad- experimental sound and radio cast musical voices and in narrative radio, erotic fantasy, and radio as an http://mitpress.mit.edu Cambridge, Massachusetts 02142 Massachusetts Institute of Technology The MIT Press electronic memento mori. The book includes new pieces by Allen S. Weiss and on the origins of sound recording, by Brandon LaBelle on contemporary Japanese noise music, and by Fred Moten on the ideology and aesthetics of jazz. Allen S. Weiss is a member of the Performance Studies and Cinema Studies Faculties at New York University’s Tisch School of the Arts. TDR Books Richard Schechner, series editor experimental edited by allen s. weiss #583606 5/17/01 and edited edited by allen s. weiss Experimental Sound & Radio TDR Books Richard Schechner, series editor Puppets, Masks, and Performing Objects, edited by John Bell Experimental Sound & Radio, edited by Allen S. -
Popular Music in Germany the History of Electronic Music in Germany
Course Title Popular Music in Germany The History of Electronic Music in Germany Course Number REMU-UT.9811001 SAMPLE SYLLABUS Instructors’ Contact Information Heiko Hoffmann [email protected] Course Details Wednesdays, 6:15pm to 7:30pm Location of class: NYU Berlin Academic Center, Room “Prenzlauer Berg” (tbc) Prerequisites No pre-requisites Units earned 2 credits Course Description From Karlheinz Stockhausen and Kraftwerk to Giorgio Moroder, D.A.F. and the Euro Dance of Snap!, the first nine weeks of class consider the history of German electronic music prior to the Fall of the Wall in 1989. We will particularly look at how electronic music developed in Germany before the advent of house and techno in the late 1980s. One focus will be on regional scenes, such as the Düsseldorf school of electronic music in the 1970s with music groups such as Cluster, Neu! and Can, the Berlin school of synthesizer pioneers like Tangerine Dream, Klaus Schulze and Manuel Göttsching, or Giorgio Moroder's Sound of Munich. Students will be expected to competently identify key musicians and recordings of this creative period. The second half of the course looks more specifically at the arrival of techno, a new musical movement, and new technology in Berlin and Germany in the turbulent years after the Fall of the Berlin Wall, up to the present. Indeed, Post-Wall East Berlin, full of abandoned spaces and buildings and deserted office blocks, was the perfect breeding ground for the youth culture that would dominate the 1990s and led techno pioneers and artists from the East and the West to take over and set up shop.